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Tom Arnold stuns estranged ex Roseanne Barr at comedy roast

By:
WENN.com Source
Aug 05, 2012

The stars, who were married for four years before their divorce in 1994, have traded insults online and in the press since their split, and last year (11), Arnold admitted he hadn't spoken to his former partner in person for 18 years.
But that all changed on Saturday as Arnold joined Seth Green, Katey Sagal, Ellen Barkin and host Jane Lynch to poke fun at Barr for the Comedy Central TV special.
Glee star Lynch opened the show by quipping, "She's one of those rare celebrities so famous that she's referred to by just one name - b**ch. I waved to you outside but then I realised it was just one of those inflatable parking lot gorillas."
Funnyman Jeffrey Ross then tore into Barr over her 2012 bid for the White House, saying, "Instead of running for president, why don't you try walking on a treadmill. I'd vote for you but I'm against big government. That's just what we need, a round president in an oval office."
The laughs continued until towards the end of the show, when a stunned silence fell over the crowd as Arnold appeared onstage to add his comedic insults to injury.
Kicking off his set, he said, "I'm not here to tear Roseanne a new one, because I've seen the old one", but Arnold soon softened and proved he was ready to put their bitter relationship firmly in the past and start afresh by hailing the comedienne for her groundbreaking career.
He told the audience, "In 1985, Roseanne went on Johnny Carson, which is every comic's dream back then. She killed, he laughed his ass off, he gave her a thumbs up and he invited her to sit on his couch. She got validation from the king which can never be taken away from her.
"And I just want to say, Rosanne, you were my Johnny Carson. And thank you for the thumbs up and thank you for inviting me to sit on your couch for a little bit."
The Comedy Central Roast of Roseanne will air in the U.S. on 12 August (12).

Another Tuesday, another Glee Project. And this week’s theme is fearlessness. Fearlessness on The Glee Project, it should be noted, is synonymous with confidence. I guess it’s to be expected in a show whose endgame is a cuddly, share your feelings, hug it out and do a trust fall-type program, but I was hoping for some more actual fear. Like, some Fear Factor challenges or scary masks or snakes on a plane or something. But instead we got bathing suits and slushies (the horror!). But we’ll get to that.
Fearlessness week started off with a bang — and a healthy dose of butt shaking — as the contenders put their rapping skillz to the test with “Now That We Found Love” by Heavy D &amp; The Boyz. A little gem from Abraham to kick things off, “I’m Asian. I don’t know if Asians are supposed to be rappers.” I don’t know either, Abe, but I’m guessing we’re about to find out.
Er, not so much. Clearly we don’t have an Artie (Glee’s resident rapper extraordinaire) in the bunch. Never have I ever seen so many muddled lyrics in a single performance. Oh wait, I forgot about my seventh grade summer camp production of West Side Story; but outside of that, this takes the cake. But spirits were helium-level high and, for (maybe) the first time this season, we got a glimpse of the contenders acting like real, honest-to-goodness teenagers messing around. I kind of dug it. You know who also dug it? Jane Lynch.
That’s right, folks, the super secret surprise mentor/judge this week is the one, the only, Sue Sylvester in the flesh, Ms. Jane Lynch. I sincerely love this woman. Like, OMG, I couldn’t wipe the cheesiest of grins off my face the entire time she was onscreen. On a scale of one to cheese, my smile ranked a full wheel of Gouda (whoa, so cheesy, right?). “I’m surging with caffeine and fear,” she says, and I’m in stiches on the floor. “Keep in mind, I will be judging you harshly,” she says, and I’m nodding like a Baptist congregation during the sermon. On Easter.
But in all seriousness, Jane Lynch should be a permanent fixture on this show. She brings a level of professionalism and sincerity to her critiques that I think has been lacking thus far in the series’ guest mentors. The younger Glee cast members are great, and lord knows I love Cory Monteith and Naya Rivera as much as the next kid, but they don’t really project wisdom and experience as much as showmanship. When Jane Lynch gives advice to the newbs, it is 100 percent obvious that her words stem from an open, personal place and are supported by decades in the business.
Jane’s pick for the head of the class is Lily, who showed confidence fearlessness in her performance by demanding attention and having fun with the material. Lily is so stoked, she can’t even believe it. Aylin, who was named runner-up, is a bit bitter. Chill out, lady, today’s not your day. During Lily’s happy dance to the camera, I notice for the first time that homegirl is from Cape Cod. Represent! I am myself from Massachusetts’ fair shore (shout out to MV), so of course now I love Lily more than everyone. Sorry Nellie, Lily’s my new favorite.
Jane Lynch now has the pleasure of announcing the music for this week’s video shoot. In true Glee fashion, it’s another mash-up: Pat Benatar’s “Hit Me With Your Best Shot” and Blondie’s “One Way or Another.” And, just when you thought we were done with adaptability week, she throws in a twist. Everyone will get his or her first face full of slushie during the shoot. Oh, and one more thing, everyone will be wearing bathing suits. Womp. Welcome to every teenager’s nightmare.
NEXT: So much for “just friends.”
Before we dive right in to the pool shoot, we’re treated to a little glimpse of the ongoing Aylin/Charlie telenovela. So much for “just friends” — these crazy kids can’t keep their hands off each other! There’s really nothing like young(ish) love blooming in the face of great(ish) adversity. I’m a little worried for Charlie, though. When Aylin’s around he has a difficult time keeping his head in the game. This is about your career, boy — let’s try to stay focused for, like, five seconds.
And without further ado, it’s video shoot time. Neon slushies fly to a booming soundtrack of ‘80s rock as teen laughter ricochets off the indoor pool’s walls and all is joyous. All, that is, except for Ali. Ali wants her chance to get splashed with a slushie, but the mentor/judges aren’t so sure. Due to her paralysis, Ali isn’t able to defend herself from a slushie onslaught, and her body also reacts severely to extreme temperatures. In short, getting slushied could be dangerous. But Ali insists, and so the slushie assault begins. At first, things go great. Ali flips her hair and smiles through the barrage, bathing judges and assailants alike in the droplets of phosphorescent slushie juice that fly from her braids. Until, suddenly, things aren’t so fine. Ali’s lungs seize up and she has a hard time catching her breath. A look of real, genuine terror washes across her face and a heroic production assistant swoops in to take her away from the offending puddle and wrap her in towels.
Everyone, rightly so, is stricken. But Ali, always the professional, is trying to laugh through her pain — literally. She doesn’t want anyone to worry, and most certainly doesn’t want any of her friends to blame themselves for her reaction. She is the definition of class, this girl.
Let’s jump right to the bottom three reveal, shall we? Robert busts out a sports analogy and names Lily and Ali MVPs this week. No argument here. Also safe are Shanna, Blake, and Abraham. This leaves Michael, Charlie, Aylin, and Nellie on the chopping block. But, after a bit of a lecture, Michael is also called back. If you’ve been keeping track, this means the bottom three are Charlie (for like, the zillionth time), Aylin (who probably doesn’t actually deserve it, but the producers really want to pit the lovebirds against one another), and Nellie (who really needs to pull herself together if she’s going to win this thing like she’s supposed to).
NEXT: The bottom three!
- Aylin is up first singing Rihanna’s “Take a Bow.” She was great. We already know she can sing, but she also has an intuitive sense of how to tell a story with her song, rather than just sound pretty. Key Glee skills, right thur. It’s obvious from the mentor’s expressions that they loved every last second of Aylin’s performance. Ryan Murphy takes this opportunity to get serious with Aylin, though. “A leading lady is both strong and vulnerable,” Ryan says, and so far Aylin has been Giggles McGhee instead. She needs to focus, tone things down a bit, and learn that there is a time and a place for silliness — neither of which are on his set.
- Next, loverboy Charlie singing Tom Jones’ “It’s Not Unusual.” Charlie has never heard this song before. Don’t you know anything about music, Charlie? Listen to some. During his performance, Charlie gets ca-razy and runs into the audience to properly serenade the judges. He personalizes the lyrics and just about charms the pants off of every last one of the mentor/judges. I, however, am just waiting for the crash following the high. He is so dang manic! Ryan Murphy is on fire with his critiques this week. He notes (rightly so), that while it’s obvious that Charlie is a great performer, they need to know that he can be successful during the process. Filming a TV show is work, not funny business.
- Last up, pretty Nellie sings “If I Were a Boy” by Beyoncé. On a personal level, I’ve never really understood this song. But that’s neither here nor there, because Nellie sure seems to get it. Her performance is an emotionally charged well of goodness. Zach Woodlee, bless his soul, tears up while watching. Dayum, Nellie. Why don’t you know you’re so good? Zach, it turns out, feels the same way. “I’m done telling you how wonderful you are,” he says as Ryan Murphy nods along fervently. The judges’ biggest critique of Nellie — again, right on the nose — is that she needs to be confident in her abilities. Constant reassurance is exhausting.
As we cut to commercial following the last chance performances, I hope with all my might that the judges make the right decision and send Charlie home. It really seems like they’re leaning towards my girl Nellie, which really just wouldn’t be fair considering how many times (four, I believe) Charlie has been in the bottom. He’s just not getting better, folks.
The list is posted, and my faith is restored in humanity. Charlie gets the boot. His exit is the most tearful thus far, due to his budding relationship with Aylin. The two share an intense, yet firmly PG-rated kiss before Charlie Bit Me takes his final bow.
Now, before we go our separate ways, I think it’s high time I give The Glee Project a little tough love. The best parts of this show are the brief glimpses we get of the kids just hanging out, shooting the s**t and cracking jokes. But, due to the jam-packed nature of the show, those moments are few and far between. Producers, hear my plea: Cut something from the format of this show. Between the homework assignment, recording studio, video shoot, and final performances, there is hardly any time to get to know these contenders. Isn’t the whole point to make America love them and drive ratings to the flailing Glee by adding someone viewers already have a connection to to the cast? Yes, Abbey, that is exactly the point. In which case, we need to see more of who these contenders are. And we won’t get that from hearing them sing pop music in a pool. My advice? Slow things down, take out a few hurdles, and let us see the closed door conversations, the calls home, the underwear basketball games. To borrow from The Real World, let things get real. And with that, I’m out.
[Image Credit: Oxygen]
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The legendary screenwriter and director had been secretly battling acute myeloid leukemia and passed away following a bout of pneumonia.
Her shock death stunned Hollywood, and several of her former leading stars have spoken out to pay their respects to Ephron.
In a statement, When Harry Met Sally... actor Crystal says, "I am very sad to learn of Nora's passing. She was a brilliant writer and humorist. Being her Harry to (Meg Ryan's) Sally will always have a special place in my heart. I was very lucky to get to say her words."
Kidman, who was directed by Ephron in 2005's Bewitched, remembers her late pal as a "joy to be around" and adds: "She was so smart, warm and funny. I am so grateful that she was my friend and we had the opportunity to work together. My thoughts and love are with her family at this time. I will never forget the dinners, games and laughter we all shared."
Sleepless in Seattle and You've Got Mail star Hanks tell E! News, "At a dinner table and on a film set she lifted us all with wisdom and wit mixed with love for us and love for life. (My wife) Rita (Wilson) and I are so very sad to lose our friend who brought so much joy to all who were lucky enough to know her."
In an email to The New York Times, Streep - the lead in Ephron's final film, 2009's Julie &amp; Julia - writes, "Nora just looked at every situation and cocked her head and thought, 'Hmmmm, how can I make this more fun?' You could call on her for anything: doctors, restaurants, recipes, speeches, or just a few jokes, and we all did it, constantly. She was an expert in all the departments of living well."
A slew of famous faces have also taken to Twitter.com to praise Ephron - Jessica Biel ?declared, "Thank you for your ground breaking contributions for women in the film industry. You have truly paved the way. With respect...", while Bette Midler branded her pal "The Hostess with the Mostest", adding: "A brilliant soul, and we will all miss her so."
Minka Kelly, who appeared in the writer's stage show Love, Loss, And What I Wore, lamented, "What a tremendous loss.. All my love and thoughts to Nora Ephron's friends &amp; family.. Truly honored to have worked with her", while Juliette Lewis told fans, "So sad... We did a movie called 'Mixed Nuts' when I was 20. She was funny intelligent and loving. One of a kind."
Steve Martin ?tweeted, "She was the one you wanted to read, to listen to, to be in the company of. Nora Ephron. Incomparable wit; delightful friend. Sadness reigns", Jennifer Love Hewitt offered, "Rip Norah Ephron. You spoke the words I could never find. Wrote about the love I hope to find and we will never find another you" and Zooey Deschanel told her followers, "I'm very sad about Nora Ephron, a hero for all funny ladies."
Alyssa Milano, Olivia Munn, Alan Cumming, Mia Farrow, Nia Vardalos, Kirstie Alley, Kaley Cuoco, Elijah Wood, Jennifer Grey and Henry Winkler also tweeted their tributes, while Ron Howard hailed Ephron as "brilliant, gracious and FUNNY" and Hanks' actor son Colin revealed: "Nora Ephron was devastatingly funny, extremely witty, and was ALWAYS one of the kindest people I have ever met."
Glee star Jane Lynch added personal memories she has of Ephron: "Nora, when I think of you I will remember perfectly scrambled eggs, Central Park and what I was wearing the moment I learned you were gone."
Ephron's family is planning her funeral, which is reportedly set for Thursday (28Jun12).

It must be awfully frustrating for Robert Pattinson and everyone involved in movies with him to be hamstrung by studios that want to take advantage of his Twilight fan base. There's no other explanation for this fangless adaptation of Guy de Maupassant's classic novel about a mercenary young lad who beds society ladies for political leverage. Oh and because he can.
As Georges Duroy the titular bel ami Pattinson skulks sulks and glowers his way through Paris in the 19th century. The dirt poor former solider runs into a comrade from the war who is now a powerful newspaper editor; Charles Forestier (Philip Glenister) who takes pity on the filthy drunk tosses him a few gold pieces and invites him to dinner. Madeleine Forestier is the brain behind the operation and she advises Duroy to cozy up to the other society ladies as they're the ones with the real power. Duroy gets a gig writing a column for the newspaper which Madeleine actually writes for him and his career as a professional grifter begins.
The plot of Bel Ami revolves around the political environment of France just before its invasion of Morocco as much as it does Duroy's love affairs. It's a major motivating factor for many of the characters one that has been watered down or edited out to the point where it's almost an afterthought. This takes away a lot of the urgency and the sort of backstabbing deliciousness that one would expect from a piece like this. The stakes aren't that high until near the end when they come to a sudden head. Before that the story was meandering between Duroy's dalliances with a married woman and how he's scamming the newspaper.
Christina Ricci plays Duroy's lover Clotilde one of Madeleine's friends and although she's married there's no weight to the affair other than to show the supposedly sexy sex that has been both part of the movie's hype and it would seem its main marketing problem. Marketing problems are relevant here because they generally mean more and more edits are made until what was once a coherent movie becomes a confusing mishmash through little fault of those directly involved.
Their scenes are moderately steamy for an R-rated movie. They're obviously not appropriate for his so-called fan base but it's obvious that even before the Twilight franchise was nearing its run that Pattinson wanted to take a stab at actual acting. Although Duroy is a sh*t it seems unlikely that the final cut of the film is all that true to the book or even the vision of those involved.
That's a shame since Bel Ami looks lovely even if it comes off as occasionally goofy. Ricci is beautiful but her character is banal. The men are all fairly interchangeable cigar-smoking society types or ink-stained writers. The most memorable thing about Uma Thurman's performance is how elegantly she smokes her cigarettes and how she treats Duroy's lovemaking as if it were less interesting than a fly landing on her arm. As one of the society women that Duroy beds as part of his scheming Kristin Scott Thomas goes from a typically no-nonsense married lady to a mewling quim. Pattinson can't seem to find the right balance between rage and sweetness; it's actually impossible to tell who he's in love with when or why until he bursts out with statements like "I was the one getting f*cked!" Or was the audience?

At the moment there are few greater clichés in the media than the freaking out single woman on the cusp of 30. Of course clichés are clichés for a reason worth exploring even through the lens of just one or two women as in Lola Versus. Unfortunately while the intention behind Lola Versus isn't that we should all be happily married by the age of 30 it still fits into the same rubric of all those "Why You're Not Married" books.
Lola (Greta Gerwig) has a gorgeous fiancé Luke (Joel Kinnaman) and they live in a giant loft together the kind of dreamy NYC real estate that seems to exist primarily in the movies. Just as they're planning their gluten-free wedding cake with a non-GMO rice milk-based frosting Luke dumps her. It's cruelly sudden — although Luke isn't a cruel man. Lola finds little comfort in the acerbic wit of her best friend the eternally single Alice (Zoe Lister-Jones) who is probably delighted to see her perfectly blonde best friend taken down a peg and into the murky world of New York coupling. Lola and Luke share a best friend Henry (Hamish Linklater) a messy-haired rumpled sweetheart who is kind and safe and the inevitable shelter for Lola's fallout. Her parents well-meaning and well-to-do hippie types feed her kombucha and try to figure out their iPads and give her irrelevant advice.
Lola Versus is slippery. Its tone careens between broad TV comedy and earnest dramedy almost as if Alice is in charge of the dirty zingers and Lola's job is to make supposedly introspective statements. Alice's vulgar non-sequiturs are tossed off without much relish and Lola's dialogue comes off too often as expository and plaintive. We don't need Lola to tell Henry "I'm vulnerable I'm not myself I'm easily persuaded" or "I'm slutty but I'm a good person!" (Which is by the way an asinine statement to make. One might even say she's not even that "slutty " she's just making dumb decisions that hurt those around her just as much as she's hurting herself.)
We know that she's a mess — that's the point of the story! It's not so much that a particularly acerbic woman wouldn't say to her best friend "Find your spirit animal and ride it until its d**k falls off " but that she wouldn't say it in the context of this movie. It's from some other movie over there one where everyone is as snarky and bitter as Alice. You can't have your black-hearted comedy and your introspective yoga classes. Is it really a stride forward for feminism that the clueless single woman has taken the place of the stoner man-child in media today? When Lola tells Luke "I'm taken by myself. I've gotta just do me for a while " it's true. But it doesn't sound true and it doesn't feel true.
In one scene Lola stumbles on the sidewalk and falls to the ground. No one asks her if she's okay or needs help; she simply gets up on her own and goes on her way. It's a moment that has happened to so many people. It's humiliating and so very public but of course you just gotta pick yourself up and get where you're going. In this movie it's a head-smackingly obvious metaphor. In one of the biggest missteps of the movie Jay Pharoah plays a bartender that makes the occasional joke while Lola is waiting tables at her mom's restaurant. His big line at the end is "And I'm your friend who's black!" It would have been better to leave his entire character on the cutting room floor than attempt such a half-hearted wink at the audience.
Lister-Jones and director Daryl Wein co-wrote the screenplay for Lola Versus as they did with 2009's Breaking Upwards. Both films deal with the ins and outs of their own romantic relationship in one way or another. Breaking Upwards a micro-budget indie about a rough patch in their relationship was much more successful in tone and direction. Lola Versus has its seeds in Lister-Jones' experience as a single woman in New York and is a little bit farther removed from their experiences. Lola Versus feels like a wasted opportunity. Relatively speaking there are so few movies getting made with a female writer or co-writer that it almost feels like a betrayal to see such a tone-deaf portrayal of women onscreen. What makes it even more disappointing is how smart and likable everyone involved is and knowing that they could have made a better movie.

Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
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The actor visited Leavesden Studios with former Potter co-stars Rupert Grint, Warwick Davis and Evanna Lynch to check out the Making of Harry Potter exhibit before its official opening on Saturday (31Mar12).
The attraction features a creature workshop, a triple-decker bus and sets used in the eight-film series, including the Great Hall and Professor Dumbledore's lavish office.
And Felton, who played Draco Malfoy in the films, admits his trip down memory lane made him rather teary.
He tells U.K. talk show Daybreak, "I won't lie, it got pretty emotional yesterday. I walked through the Great Hall for the first time in three or four years. It hit me like a ton of bricks, to be honest with you. It's a house of many treasured memories. It all came back to me rather quickly...
"We were asking for years for wands, for broomsticks and they denied us - but with good reason. This is the reason they said no because everything is here. Everyone's wand, everyone's broomstick. It's quite a marvel how much stuff they managed to keep."
Grint, who played Harry Potter's pal Ron Weasley for 10 years, adds, "Leavesden Studios is such a special place, I grew up here, I went to school here. It's so great to see people going around the attraction and getting so excited."

A massive hit never ends at its own conclusion for better or worse. Lost Tim Burton's Alice in Wonderland The Blair Witch Project and other pop culture milestones spawned plenty of imitators of wavering quality that trickled on to screens until the phenomena tapered off. Joyful Noise the new film starring Queen Latifah and Dolly Parton is one these auxiliary creative endeavors a direct descendant of the cheeky drama/comedy/musical hybrid Glee. But instead of teenage issues and pop covers Joyful Noise swaps in familial struggles gospel tunes and a sizable serving of Christian faith. The combination results in a movie that lacks the jazz hand energy of Glee but packs good-natured laughs to keep someone awake for its two hour duration. More "noise" than "joyful."
Mere minutes after the passing away of choir leader Bernie Vi Rose (Latifah) inherits the position—along with a serving of negative vibes from Bernie's wife G.G. (Parton) who was hoping to take the job herself. The new responsibility is only the beginning of Vi Rose's troubles as she attempts to balance her rebellious daughter Olivia's (Keke Palmer) raging hormones her son Walter's (Dexter Darden) Asperger's syndrome her husband's absence during a military stint and her own old school God-faring ways. Hardships are whipped into further chaos upon the arrival of Randy G.G.'s rambunctious horny grandson who shows up at rehearsal with an eye on Olivia and undeniable vocal skills. Randy's rock and roll edge is readily embraced by the group but even with the national gospel championship on the line Vi Rose isn't ready to toss tradition aside.
Joyful Noise is a mixed bag sporadically entertaining when director Todd Graff (Camp Bandslam) lets his two commanding stars flex their comedic muscles or belt soulful tunes. Latifah and Parton can do both with ease—Latifah has a natural charm while Parton essentially fills the "kooky Betty White" here—but instead of letting the two fly Graff breaks up the action with overwrought drama and bizarre side character stories. The script injects a lot of ideas into the picture—loss of faith modernizing ideologies coping with tragedy sexuality under the eye of God—but every tender moment is fumbled. A gut-wrenching conversation between Vi Rose and her autistic son should have weight and the actors do their best but the material doesn't service the emotional complexity of the scenario. Instead it opts to cut to a musical number. Another sequence involving the overnight demise of another character is even played for comedy even when it causes one woman to question her beliefs.
Thank God for the musical numbers which have enough energy to brush the flimsier moments under the rug. The Glee-inspired pop tune covers (Michael Jackson's "Man in the Mirror " Usher's "Yeah"—both tailored with religious modifications) aren't nearly as interesting or powerful as the straight-up gospel songs. But unlike the tunes Joyful Noise doesn't have rhyme or reason. A mishmash of played out character stereotypes narrative cliches and enjoyable but erratic music the movie feels more like a cash-in than it should. Latifah and Parton are a sizzling duo but the vehicle built for them is a clunker. As Vi Rose might say the only way to have a great time at Joyful Noise is to believe. Really really hard.

Each new year produces a handful of it-girls and men of the moment, and we here at Hollywood.com like to get ahead of the game by letting you, our loyal readers, know who’s going to be a big deal. 2012 sees a gaggle of films big and small hit theaters, and with them an army of actors working hard to make the most of their packed schedules. Some are big-screen veterans, others are relatively new to showbiz, but all of them are must-know names.
*This list was compiled based on the amount of films/projects each actor is a part of that will release in 2012, factoring in the size of the film(s) and their overall celebrity status.
Bradley Cooper
Cooper had a hell of a 2011, with The Hangover Part II and Limitless proving him a major box office draw and those dreamy eyes helping him join the ranks of People Magazine's Sexiest Man Alive. So what does the New Year have in store for him? No less than four films: David O. Russell’s new comedy The Silver Linings Playbook, in which he works with an eclectic ensemble including Jennifer Lawrence, Robert De Niro, Chris Tucker, Julia Stiles and more, the action-comedy Outrun, the dramatic thriller The Words (which co-stars Olivia Wilde and his new girlfriend Zoe Saldana) and The Place Beyond the Pines, the new film from Blue Valentine director Derek Cianfrance. All the while he’ll be shooting Paradise Lost, an epic FX-driven actioner from I, Robot director Alex Proyas.
Chris Hemsworth
This Aussie became the superhero-du-jour thanks to his breakout role as the God of Thunder in Marvel’s Thor earlier in 2011, and he’s capitalizing on his newfound fame in a big way. He’ll reprise the part in May’s The Avengers, and has one-of-two titular roles in one-of-two anticipated Snow White adaptations (Snow White and the Huntsman) in June. Additionally, a pair of pictures he shot long ago will finally hit theaters – first the horror-thriller Cabin in the Woods, followed by the remake of cult favorite Red Dawn. Add in Ron Howard’s Rush, which he’ll begin shooting this January for an early 2013/late 2012 awards run and you’re looking at one of the most exciting careers to follow!
Channing Tatum
Tatum made our list last year thanks to a packed schedule including The Dilemma, The Eagle, The Son of No One and more, and 2012 is just as busy for the young A-lister. In January, Steven Soderbergh’s Haywire will finally hit multiplexes (in which he has a bit part) and we could see his ensemble drama Ten Year go wide at some point, but even if it doesn’t he’s got plenty of major motion pictures to promote. First will be the romantic drama The Vow opposite Rachel McAdams, followed soon after by Sony’s 21 Jump Street reboot. On June 29th, he’ll release a pair of very different movies – Paramount’s G.I. Joe: Retaliation and his second collaboration with Soderbergh, the male strip flick Magic Mike. But the best is yet to come, as he’ll star in Moneyball director Bennett Miller’s new drama Foxcatcher opposite Steve Carell, due in 2013.
Jessica Chastain
As stated in the introduction, this list is about both seasoned cinematic figures and rising stars, and was there anyone who had a more impressive year than newcomer Ms. Chastain? I think not. With films as wide ranging as Texas Killing Fields, The Debt, The Help and The Tree of Life (among others) she solidified herself as a dramatic force to be reckoned with in 2011, and the future is bright for the 30-year-old starlet. She’ll reunite with director Terrence Malick for his new, untitled romantic drama and also has a role in John Hillcoat’s anticipated prohibition thriller Wettest County opposite Shia LaBeouf, Tom Hardy and Gary Oldman. Additionally, she’ll star in a horror flick called Mama and a star-studded drama titled Tar with James Franco, Mila Kunis, Michelle Williams and more.
Bruce Willis
Here’s an example of a longtime film hero hitting it hard in 2012. While this isn’t the first fiscal year in which Willis has released multiple movies, it’s without question the busiest frame in his career. He’s slated to appear or star in no less than seven films, including big-budget blockbusters like G.I. Joe Retaliation and The Expendables 2, smaller action-thrillers Looper and The Cold Light of Day and more artful projects like Wes Anderson’s Moonrise Kingdom and Stephen Frears' Lay the Favorite. He’ll also turn up in the 50 Cent-produced thriller Fire with Fire and will shoot the highly-anticipated A Good Day to Die Hard and videogame adaptation Kane &amp; Lynch throughout 2012. Not bad for an elder statesmen.
Bryan Cranston
Though he’s best known as a modern TV icon thanks to his Emmy-winning role in AMC’s Breaking Bad, Cranston has been incredibly prolific on the big-screen in recent years. He appeared in six films in 2011, including Drive, The Lincoln Lawyer, Contagion and Larry Crowne, and has five major productions on the horizon in 2012. In January he’ll play an authoritative figure in Lucasfilm’s long-gestating wartime action flick Red Tails, followed by a turn in Disney’s mega-budgeted John Carter. He’s also got a part in Adam Shankman’s Rock of Ages adaptation and a villainous role in Sony’s Total Recall remake, and is currently filming Ben Affleck’s CIA drama Argo, set to hit theaters in September.
Zac Efron
The former High School Musical star has been trying to establish himself as more than just a pretty face for some time, and 2012 could be a pivotal year in his career. He dabbles in commercial and independent fare next year, with starring roles in Universal’s Dr. Seuss adaptation The Lorax and Warner Bros.’ Nicholas Sparks adaptation The Lucky One as well as parts in Lee Daniels’ The Paperboy and Josh Radnor’s Liberal Arts. He’s also going to appear in an untitled ensemble drama alongside Dennis Quaid, Heather Graham and Clancy Brown.
Alec Baldwin
We've had to wait until 2012 to finally see Baldwin's return to TV, and, lucky us - we'll also be treated to about five film roles from the beloved entertainer. He’s got parts in all kinds of movies, from indie comedy AmeriQua to indie drama Lucky Them, and even big studio flicks like Rock of Ages and DreamWorks Animation’s CGI spectacle Rise of the Guardians. But his most interesting project in unquestionably Nero Fiddled, Woody Allen’s new Rome-set romp, which will likely premiere at the 2012 Cannes Film Festival.
Jessica Biel
Biel is best known as a maker of mainstream movies (I Now Pronounce You Chuck and Larry, The A-Team, Valentine’s Day), but 2012 will see her release a diverse slate of films. She’s got one of two female lead roles in summer actioner Total Recall, and will play a pivotal part in Gabriele Muccino’s new dramedy Playing the Field. In addition, she’s got a horror thriller titled The Tall Man in the can, and is preparing to film a pair of pictures that could screen next year – The Devil and the Deep Blue Sea and Emanuel and the Truth About Fishes. With any luck, we could also see the long-delayed David O. Russell political rom-com Nailed (in which she plays the female lead) release, but I’m sadly not holding my breath. And if she ends up wedding Justin Timberlake (as engagement rumors started swirling around the web earlier this month), it’s going to be a landmark year for the former 7th Heaven star.
Josh Hutcherson
This young talent has been on the rise for awhile, and with a resume that includes work with Robert Zemeckis, Jon Favreau, Paul Weitz and Lisa Cholodenko it’s a wonder he hasn’t been propelled to the spotlight sooner. In 2012 he has five films to release, and by the time the year is over he’ll likely be a household name. First he reprises his role from 2008’s Journey to the Center of the Earth in Journey 2: The Mysterious Island, then appears in an anthology film that sports a directing roster including Benicio del Toro and Gaspar Noe. March sees him starring in one of the most eagerly awaited films of the year – The Hunger Games – while he’ll then appear in the art-house drama Carmel opposite Alfred Molina and Hayden Panettiere. Finally, he’ll star in MGM’s Red Dawn remake in November, and by that point he’ll probably have already cornered several major films for his future.
James Franco
When is Franco NOT one of the busiest entertainers in showbiz? The Oscar-nominated actor and noted workaholic has been laboring at ludicrous speeds as of late, and his 2012 schedule is packed with somewhere between five and seven films that you'll probably never see including drama Maladies (with Catherine Keener and David Strathairn), thriller The Stare (opposite Winona Ryder), the fore mentioned ensemble drama Tar, the Linda Lovelace biopic Lovelace and another porn-centric drama called Cherry. All the while he’ll be shooting a documentary and filming projects for release in 2013. The man is a machine.
John Goodman
Finally, here’s yet another example of career resurgence. Goodman’s been working incredibly hard over the past few years and has been a part of some of the most acclaimed pictures of 2011 – Kevin Smith’s Red State and awards’ hopefuls The Artist and Extremely Loud and Incredibly Close. Next year, however, is a whole other animal, as he appears in five movies including indie dramedy Thicker, dark comedy Spring Break ’83, Focus Features animated fantasy ParaNorman, and a pair of important dramas from Ben Affleck (Argo) and Robert Zemeckis (Flight). In between pushing those pics, he'll be shooting the Coen Bros. new flick Inside Llewyn Davis and Pixar's anticipated prequel Monsters University. Walter Sobchak is back in the building people.

When it comes to television, there's no limit on the diversity of our opinions. Claim one show is the tops, and fans of copious other series will jump down your throat in an instant to make sure you know just how wrong you are. Don't you know Sofia Vergara's delivery takes far more effort than Jane Lynch's Grinchy Sue Sylvester? Don't you know that Johnny Galecki's whining can never match wits with Donald Glover's screaming-crying schtick over on Community? Don't you know that no one enjoyed that last episode of Entourage? (Okay, I think most of us are probably in agreement on that one.) The point is, television shows require a lot of devotion, so when you put one down, fans are bound to get riled. And seeing as we're mere days away from Television's biggest night -- The Emmys -- we'd like to take this opportunity to break down all the nominated series, pit them against eachother and crown our own winner. You may agree with us, you may disagree. But that's the beauty of Emmy season; we all get to defend our shows and hide our faces in shame when they're robbed of their well-earned golden trophies. So, without further ado, let's get ready to rumble, TV fans.
Click on the bracket for a larger version.
Round 1
Dexter vs. Game of Thrones
This one's almost too easy. Sure, we love Michael C. Hall as Dexter and we haven't forsaken the series, but last season was just a little subpar. Game of Thrones, however, burst onto television with a scope and fervor that we haven't seen before. The series broke new ground in television drama, while Dexter relegated itself to stale tricks. Game of Thrones moves on to the next round.
Boardwalk Empire vs. Friday Night Lights
This match-up is a bit more difficult. Boardwalk Empire takes us inside the well-crafted world of the Prohibition Era East Coast mobster. The drama is ripe and salacious with plenty of old timey charms to boot, but when you pit Steve Buscemi and company against Coach Taylor and his classic pep talks, the competition gets tough. The bootlegging ways of Boardwalk Empire are fun and the show is well-made, but it can't compare with Friday Night Lights' intimate, realistic, heartfelt portrayal of Middle America. Clear eyes, full hearts, FNL can't lose.
Glee vs. The Big Bang Theory
Here's another easy one. On one hand, you've got a consistently giggle-worthy show about a gang of nerds and their babely neighbor. On the other hand you have a show that used to be a riotous look at the world of a high school show choir. And therein lies the basis of our decision. The Big Bang Theory continues to garner laughs -- granted they're laughs that we've shared time and again, but they're laughs none the less. Glee lost its touch last season. Eschewing solid humor for unnecessarily complicated plotlines, one of the most promising, refreshing shows on television loosened a bit of its grip. We'll hand the K.O. to Big Bang this round.
30 Rock vs. The Office
It almost seems wrong to pit Tina Fey against Steve Carrell, but this isn't kindergarten play time, it's our all-important Emmys Deathmatch. And the fact of the matter is, any manner of antics on the fifth season of 30 Rock can't even pretend to match the pure emotion and humor in Michael's final episodes on The Office. While it's left us all uncertain of the show's future, it was a skillful goodbye and it gets the jump on Liz Lemon's plastic bag reveries.
Round 2
Game of Thrones vs.
Mad Men
This is a tough comparison, because now we're getting into shows that are wildly different from eachother. GoT is undoubtedly a fantastic series deserving of loads of recognition, but when Mad Men delivers the best season the show has seen after four seasons on television, you know there's some serious talent and television magic going on behind the scenes. Mad Men for the win, hands down.
The Good Wife vs. Friday Night Lights
This is another toughie. Both of these shows are recipients of widespread critical acclaim, and for good reason, but only one can continue. The Good Wife didn't score 10 Emmy nominations for no reason; the series is smart, sexy and engrossing. But what the CBS show is lacking is the incredible heart of Friday Night Lights. Maybe we're sentimenal because it's over, but there's just something far more powerful about a great show in its final season. The Good Wife is just hitting its stride and it's got seasons stretching out before it. FNL said farewell just as we'd hoped and that is a rare occurence that deserves our praise.
The Big Bang Theory vs. Modern Family
The Big Bang Theory is funny. We can admit that. But can it compare to the clever, gut-busting scenarios we find our favorite ambiguously Southern Californian family in week after week? It simply can't. Give me Gloria ordering a box of Baby Jesuses any day over Sheldon's snarky, nerdtastic insults. Big Bang's ensemble works, it really does, but Modern Family boasts one of the most talented, consistent ensembles on television, so it gets our vote.
Parks and Recreation vs. The Office
Here we have a contentious, almost Oedipal match. Parks and Rec started as a spinoff of The Office and many of us groaned at that notion. The Office didn't need a spinoff. It seemed a bit gratuitous and self-indulgent. But while our favorite workplace comedy slowed its roll and started to loose the sharp wit (though it's still somewhat funny) that we loved it for, Parks and Rec quickly stepped up its game to take The Office's place as the new NBC comedy du jour. And it keeps getting better. Season 3 far surpassed all of our expectations and I'm pretty sure I still have permanent injuries from laughing so heartily. Amy Poehler and company take the winner's seat.
Round 3
Mad Men vs.
Friday Night Lights
FNL has our hearts, but Mad Men has our minds, so much so that we're having trouble remembering what's in our hearts. While I want to give FNL the winning spot as a parting gift, this season of Mad Men was so subtly beautiful and well-done, like a man plucking an upright bass in some smokey, mahogany-laden bar room, that we're forced to give the AMC series the win. I'm like a secretary in the presence of Don Draper; the allure is irresistable.
Modern Family vs. Parks and Recreation
The Pritchetts and the Dunphys are certainly a wealth of comedy in their Wednesday night slot, but it really can't compare to the hodgepodge of government employees in Pawnee's Parks Department. Between the continuation of Ron Swanson's greatness, Leslie Knope's hilarious do-gooder ways, Tom Haverford's small town baller habits, and the addition of Rob Lowe's health nut and perfectionist Chris Traeger to City Hall, Parks has no where to go but up, and as much as I love Modern Family, it seems to stay on the same level, which is fine. It just means it loses this round to Parks.
Deathmatch: Final Round
Mad Men vs.
Parks and Recreation
Now comes the hard part: deciding whether a comedy or a drama gets to take home the ultimate (fake) Emmys Best Series title. In one corner, we have Mad Men, which with its sly, seductive ways strings us along through the daily intrigues surrounding the men and women of Sterling Cooper Draper Pryce. We have layered characters with struggles and inner demons that rarely ever express themselves outright, but are instead hinted at by characters' subdued behaviors, body language and even brief facial ticks. It's a show that demands every ounce of our attention -- and one that deserves ever last one of those ounces. But what about Parks? It's madcap; it's zany. Can it even compare to the Mad Mens of the world? Yes, I say. What Parks does that few other comedies manage to do (Modern Family is the next show capable of this feat) is that is manages to deliver the zany and the outrageous antics we come to expect from a sitcom and it weaves them ever so gently in with a depth of character that almost sneaks up on you. We aren't really thinking about how far under our skin these folks are because we're laughing too hard, but once things slow down a bit when the plot calls for it, we're suddenly hit over the head with how incredible they are. Parks touches all the bases and it does this without overexerting itself or losing any charm, momentum or depth. You can disagree with us (because there are many of you who are already shaking your heads and skipping to the bottom to find the comment section) but in our book, Parks and Recreation offered up the best season of television this past year.